1-8-70
A Day Before the Hoochie Coochie Man's B'Day (Tarantura2000), Bristol Stomp (no label), Out of the Bristol Tale (TCOLZ), Out of the Bristol Tale Revisited (no label), & Shin Bristol 1970 (Wendy)
Stomp has several problems. It misses the first four seconds of We're Gonna Groove, has troubles during Dazed, is cut in the beginning of Since, has a tape glitch during How Many More Times, and runs too fast.
TCOLZ and Tarantura2000 don't have the same issues as Stomp and may possibly be from a lower generation tape.
Wendy's title has the metallic sound in the background and has been amplified some.
No label's "Revisited" title is seems to be identical in sound in content as TCOLZ, but has better cue stop placement.
1-9-70, titles released before the official video
Historical Birthday (Shout To the Top), Jimmy's Birthday Party - The Royal Dragon (Tarantura, 2cd), Royal Albert Hall 1970 (Celebration), Royal Albert Hall (Red Robin), & Strange Tales From the Road (8cd, no label)
STTT's title doesn't sound as good as these other two titles. It and Tarantura are missing most of the little time before the show. Tarantura added audience cheer to the beginning of the tape. Communication Breakdown has a small glitch in the beginning and has removed the cut/stretch after the song. At each cut, Tarantura has pasted in extra audience cheer in a effort to conceal the cuts. They also added 9 seconds of audience on the end of the tape.
Tarantura's music and background noise are louder than Red Robin. There's no gen difference, it was just amplified.
Tarantura's 2nd disc is the soundtrack from the video.
Strange Tales' version has a song out of sequence and is missing half a second at the first cut in WLL. It's sound is excellent.
Celebration's title is a mix between the soundboard and the video soundtrack, offering more music than the other single disc titles.
1-9-70, titles released after the official video
Blue Bird (Empress Valley), Historical Royal Albert Hall 1970 (Wendy), Jimmy's Birthday Party (Empress Valley titles, 4cd & 2cd), Let's Get Together (Moonchild), Live At Royal Albert Hall (Empress Valley, 4cd), Royal Albert Hall 1970 (Wendy & 2015 no label), & Royal Albert Hall: The Initial Tapes (Godfatherecords)
EV's "Live At Royal Albert Hall" title's biggest contribution is that it debuts an almost four minute fragment of Heartbreaker. The first two cds attempt to reconstruct the show. It uses parts of the old familiar boot tape audio, excellent quality tape for the official release, and some audience tape not made available anywhere else. The old pro tape is used mostly between songs and during HMMT. For some reason, they only used the first two minutes of Heartbreaker instead of the four minutes they debuted on the last two cds in the title. There are other, lesser, flaws here not found on EV's other two cds as well. EV's last two cds are an edited version of the show and is excellent quality the whole way through. It doesn't seem to have any special mastering.
EV's "Jimmy's Birthday Party" reissues "Live At Royal Albert Hall," using the same discs, but different packaging and name.
EV's December 2011 jewel case reissue uses the same audio and disc times as the original. The matrix line is different and so is the color of the discs.
Godfather seems to be an edited version of EV's cds 3 & 4. They've added a silly edit/effect to the end of the Heartbreaker fragment, moved Bring It On Home, and have amplified the sound a fair amount. The first half of the first disc has some noise in the background (similar to the annoying "metallic" sound) but can only be heard during quite moments.
Wendy's title is a mix similar to EV's first two cds, but is more complete since they use all of Heartbreaker. It pieces together bits of new and old tape pro tape along with an audience tape. Some of those pieces are much better sounding here than found on EV.
The no label title from 2015 has five discs. The first two discs are from the newer multitrack recording and, other than track sequence, is highly similar to EV. It does include Robert introducing HMMT before the song starts. The next two discs seem to be an attempt to offer a full show, mixing the multitrack, old track, and some audience tape. However, no attempt was made to offer a complete HMMT or LTS, so it lacks several minutes of music. The fifth disc is the old AM broadcast. The track sequences on these three offerings differ some from other titles' sequence.
Moonchild's title is highly similar to the no label title's cds three and four. The sound quality and content, and lack of content, are the same. The track sequence is a little different on the last disc.
EV's 2cd Jimmy's Birthday Party reissues the audio from the last two discs of the four cd original.
EV's Blue Bird is not another reissue. It is a new mix of sources, and brings in about fifty seconds of the organ solo and Thank You from the official dvd release. They also thought it would be appropriate to mix in songs from the Bath Festival.
Wendy's "Historical" title is an audio reissue of their original title.
2-23-70, source 1
Fixin To Die (Gold Standard), Toccata & Fugue (Tarantura & no label), & Valhalla, I'm Coming (Mandala)
These titles are strictly from the first source.
Mandala's title runs fast and has more hiss than the other releases. It has a slight drop during the last few notes of Dazed and Confused. It is missing 81 seconds of tape before Since I've Been Loving You and almost 35 seconds of tape after Moby Dick.
Tarantura has the drop in Dazed and is missing 81 seconds of tape before Since. It is missing 6 seconds of tape after Moby Dick. It's sound is lower in quality than Gold Standard in some places, but equal in others.
Gold Standard does not have the drop in Dazed and Confused. It a slight cut and repeat after White Summer and during HMMT. The title is not missing any tape.
No label's title isn't missing any tape, doesn't have any cut/repeats, and doesn't have the big static spot during Moby that's found on the older titles.
2-23-70, source 2
Ottawa 1970 Remaster (Graf Zeppelin)
Graf's title debuts the second source, containing Since, organ solo, and Thank You.
2-28-70
Copenhagen 1970 (no label), Dancing With Snow Queen (Baby Face), The Nobs (Tarantura & Empress Valley), The Nobs Volume One (Wendy), & A Riot Going On (POT)
Tarantura has a small silent gap in How Many More Times (everyone else edits/removes the gap) and overall the tape is missing about 10 seconds of audience cheer.
POT's fade-in is too long and misses the 1st drum beat. It has a couple extra drops not found on the other titles. It's sound isn't quite as good as the others.
Snow Queen and Wendy are almost identical in content and sound. They run a touch faster than the other two titles.
Empress Valley's title doesn't fade into Dazed, and offers a split second more tape than Babyface. Thank You has a defect, a digital glitch not found on other titles. Another half second of extra tape is made after HMMT. Almost four minutes of tape are missing after Bring It On Home. It's sound has been amplified a bit.
The no label title is as incomplete as EV. It's sound has been amplified a bit too.
3-7-70 soundboard
Charisma (Tarantura2000), Feel All Right (Eat a Peach, 4cd), Great Beast 666: Great Beast 666 (Empress Valley, 3cd), Great Beast 666: Bonus Disc (Empress Valley, 1cd), I Left My Heart In Montreux 1970 (Wendy), In Rock (Tarantura2000, 3cd), Intimate... (Equinox), Intimidator (Empress Valley, original 3cd and reissue 3cd), & Sunshine Woman (Flagge)
Foreword
There were four AM radio tracks initially offered from the soundboard and were in poor quality: We're Gonna Groove, I Can't Quit You, Dazed and Confused, and White Summer (incomplete). Shortly thereafter, two more tracks became available from the soundboard, in excellent quality: most of How Many More Times and half of Whole Lotta Love. Ten years later, the final half of Whole Lotta Love became available in excellent quality. Five years after that, more excellent quality tape from the soundboard became available: Moby Dick, an extra minute of How Many More Times, the beginning 9 seconds of Whole Lotta Love (and the rest of the song presented uncut), and Communication Breakdown. That same month, a secondary source was made available for two of the AM radio tracks, containing a slightly less compete version of I Can't Quit You and a complete White Summer. So, there's a total of eight different tracks available from the board. Half of those are poor quality and the others are excellent.
Flagge was the first label to feature time from the soundboard (four tracks). Equinox also has the same four songs, but in the proper order.
Charisma was the first title to include the soundboard from HMMT and WLL. The quality was not impressive and had been tweaked hard. There's obvious evidence in the background. It did not contain any other soundboard tracks.
Empress Valley's third disc of Intimidator (original) strictly contained soundboard tracks. It was the most complete offering of the first six songs. It's sound quality wasn't impressive either for the first four tracks, but has not suffered additionally like Charisma. The 2012 3cd reissues' third disc uses a new disc but keeps the same disc times. It's a clone of the third disc from the original title. The 2016 7cd box set titled Great Beast 666 contained the subtitle "Intimidator," which was a 3cd title reissuing the same discs used in 2012. Again, it's disc three contains those first six soundboard songs.
Wendy's title debuted the last half (2:20) of Whole Lotta Love. (This is a mixed source title).
EV's 2016 release "Great Beast 666" was offered as 7cd and 4cd box sets. Both contain a 3cd subtitle of the same name plus a "Bonus Disc." (These portions of the boxes share the same cds.) Disc three "Great Beast 666" contains only the excellent quality soundboard material (Moby, HMMT, WLL, & CB).
Peach's third disc contains the old four AM radio tracks and debuts a second AM source for Quit (slightly incomplete) and a complete White Summer. The four older tracks are the same poor quality but the second source is a bit cleaner.
Peach's fourth disc contains the last four excellent sounding soundboard tracks, and fills the opening of HMMT with the audience.
Tarantura2000's first two discs of "In Rock" is meant to present the audience tape and fill with the soundboard. Overlooking a few minor issues, there's a big issue during HMMT, as it misses almost two minutes of the audience tape. It's displaced by the soundboard. It's been highly amplified.
Tarantura2000's third disc of "In Rock" is meant to present the last four tracks from the soundboard. However, they unnecessarily displaced 19 seconds of the soundboard before Moby with 10 seconds of audience before Moby. During the end of Moby, they again unnecessarily splice to audience for the last 14 seconds of the song and for another 10 seconds after the song. The soundboard is not cut in these places, so it's really pointless. Another slight cut happens at the track change for HMMT. It's highly amplified.
3-7-70 audience/soundboard mixes
Feel All Right (Eat a Peach, 4cd), Great Beast 666: Intimidator (Empress Valley, 3cd), Great Beast 666: Bonus Disc (Empress Valley, 1cd), I Left My Heart In Montreux 1970 (Wendy), Intimidator (Empress Valley, both 3cd & both 2cd reissues), & Jesus - Live In Montreux (Empress Valley)
Empress Valley's Intimidator (original issue, 3cd) uses the soundboard recording to fill the gaps in the audience tape. Like all the other double cd releases, it does not use all of the available HMMT. EV is missing 39 seconds of the audience tape on HMMT. It's sound is a little bit louder than Divinity, like Charisma - but without adjustments. The first two cds of this title were reissued under the same name in 2005. The discs are direct copies from the original. The title was reissued again in 2010 using the discs from the 2005 release. The title was reissued as a 3cd title in 2012 with new cds (although the year 2009 was printed on the discs). The disc times remain the same.
Wendy's title uses the audience recording as it's foundation and uses some of the soundboard to fill gaps. They're missing the same 39 seconds of audience tape for HMMT as EV. Where it splices to the soundboard, it misses some time. In the end, it debuts an extra 2:20 (remaining half) of Whole Lotta Love.
EV's 2016 release "Great Beast 666" 7cd box set contained the subtitle "Intimidator," which was a 3cd title reissuing the same discs used in 2012. For the subtitle "Great Beast 666," disc one is a clone of the first disc from the original Intimidator. Disc two is the second half of the show and is completed by starting the soundboard where the audience tape stops, this time adding in the latest soundboard material. Actually, the soundboard starts during HMMT 39 seconds too early, just like in the original release. The "Bonus Disc" is meant to be an alternative to cd2, using the newer soundboard tracks in place of the audience tape whenever possible. A few seconds of the sb are missed at splices.
Peach's first two cds is a mix relying on the audience tape and then switching to the excellent soundboard. During HMMT, it splices to the soundboard sixty seconds too early.
EV's Jesus title is uses the audience source until the soundboard is available for the last four tracks. That switch is the only splice.
3-7-70 audience
All That Jazz (TDOLZ), Charisma (Tarantura), The Dark Tower (Tarantura), Divinity (Atlantic Ocean Records), Feel All Right (Cobla), Montreaux 1970 (Live Storm, 1cd), & We're Gonna Groove (Luna & Scorpio, 1cd)
Live Storm, Luna, and Scorpio are incomplete single disc titles (Moby Dick is absent). However, they have the longest version of HMMT ever released on cd from the audience recording.
Cobla's title is from vinyl and runs slow. It's HMMT has 39 seconds less than Scorpio's.
TDOLZ's title is from tape and runs closer to the proper speed. It's HMMT is 1 second shorter than Cobla's. White Summer/Black Mountain Side has a cut nine minutes into the track.
Tarantura's Dark Tower is from tape and has the shortest version of HMMT ever placed on cd. It is 100 seconds less than TDOLZ's.
Divinity may come directly from the master tape. It is far better sounding than the previously mentioned titles. It is the only one to have the songs in the original running order, without extra cuts. The introduction is a few seconds longer than the other releases. Since the songs are not rearranged, there are that many less cuts. We're Gonna Groove's tape stretch has been removed. Strangely, the last 20 seconds of HMMT seems to come from a different generation of tape. Even though a different gen tape was used, they still didn't use it for the 40 seconds of extra tape found on the single disc releases.
Charisma may also come directly from the master tape. We're Gonna Groove's tape stretch has been removed too. It's HMMT is 1 second shorter than Divinity. The rest of the tape is the same in regards to content and cuts. No evidence points to the chance that this wasn't copied from Divinity. It seems that heavy adjustments were made to the sound on this tape. There aren't any big negative side affects this time. Some of the stage mic feedback has been reduced during White Summer. The sound is louder than Divinity, without much increase in background noise. This is probably due completely to equalization and not to a difference in generation of source tape.
3-9-70
High Flyin' Zep (Electric Magic) & Vienna 1970 (MMachine)
EMC's title is all from one source, although incomplete. It has the familiar "metallic" sound in the background, just like most of their recent releases.
MMachine shares some of the same tape found on EMC but also uses a secondary source to complete the show. For the tape shared between these two titles, the quality is about the same (excluding the metallic sound, of course).
3-10-70
Hamburg 1970 (Immigrant), Hamburg 1970 First Night (no label), Lili Marleen (Tarantura2000), Mystery European Gig (The Symbols)
Immigrant has two extra cuts and a dropout not found on The Symbols. Both titles have a four minute repeat during Moby Dick.
Tarantura2000's title starts off with an extra bit of tape before the cut before the show. Dazed and Confused is followed by a minor two second repeat. The cut in Moby Dick is edited and does not miss any tape. (There's no four minute repeat on this track.)
The no label title's cuts, content, and sound quality are almost identical to Tara2000.
Immigrant's title is better sounding than The Symbols. It is likely due to a difference in tape generation. Tarantura2000's title is at least one generation better than Immigrant, maybe even two.
3-11-70
Everybody Everybody (IQ), Hamburg 1970 2nd Night (no label), & Lili Marleen (Tarantura2000)
IQ has several flaws. White Summer is cut, missing one or two seconds. The song is followed by a nineteen second repeat of tape. How Many More Times has two instances of digital static. There is no que stop for Whole Lotta Love. Tarantura2000 doesn't have any of these problems. It's only error is a "micro cut/repeat" in Dazed, near 14:31. Shortly afterwards near 15:17, it sounds like another cut/repeat, but it is not cut.
The no label title is without flaws. No micro cut/repeats, no static, and the three cuts are not missing any tape.
Tarantura2000 and the no label title have been amplified equally and are louder than IQ. They may be one generation closer to the master tape and their overall condition is much improved over IQ.
3-12-70, source 1
Bring It On Home (POT), Life (no label), & Loreley (Moonraker)
POT's title and "Life" are strictly from the first source. These are from vinyl, and it seems the tape is no longer available. Life is in better condition than POT.
Moonraker is a three source mix based on source 1 and 3. It debuts sources 3 and 4. The only song sources 1 and 3 share is Dazed. Dazed is mix of both of those sources and does not feature all of either source. About 75 seconds of source 3 is missed on this title, and that's from the beginning of it's Dazed. (Source 3 contains the introduction, Communication Breakdown, I Can't Quit You, Dazed and Confused, Moby Dick, How Many More Times, and Whole Lotta Love.) The three tracks of source 1 (Dazed, White Summer, and Since) are all present on this title (with the full track of Dazed being offered after the show as a bonus track). Source 4 is only used for 25 seconds after White Summer. However, that section is out of sequence, as it actually occurred after Thank You, which is not offered on this title. Moonraker degenerated their sound by adding in the metallic sound for the show, but not the bonus track.
3-12-70, source 2
Dancing Days (Aphrodite Studio & Silver Shadow) & Psychedelic Raw Blues (Immigrant)
These three titles are strictly from the second source, which only features How Many More Times. They are completely identical. The audience cheer after the song has been faked.
3-12-70, source 3
Dusseldorf 1970 (Graf Zeppelin) & Loreley (Moonraker)
Moonraker is a three source mix based on source 1 and 3. It debuts sources 3 and 4. The only song sources 1 and 3 share is Dazed. Dazed is mix of both of those sources and does not feature all of either source. About 75 seconds of source 3 is missed on this title, and that's from the beginning of it's Dazed. (Source 3 contains the introduction, Communication Breakdown, I Can't Quit You, Dazed and Confused, Moby Dick, How Many More Times, and Whole Lotta Love.) The three tracks of source 1 (Dazed, White Summer, and Since) are all present on this title (with the full track of Dazed being offered after the show as a bonus track). Source 4 is only used for 25 seconds after White Summer. However, that section is out of sequence, as it actually occured after Thank You, which is not offered on this title. Moonraker degenerated their sound by adding in the metallic sound for the show, but not the bonus track.
Graf's title is strictly from source three and has excellent sound. (Graf's title comes 20 years after Moonraker and has helped to disect the Moonraker title.)
3-12-70, source 4
Loreley (Moonraker)
Moonraker is a mixed source title that debuts source 4. It is only used for 25 seconds after White Summer. However, that section is out of sequence, as it actually occured after Thank You, which is not offered on this title.
3-12-70, source 5
Dusseldorf 1970 (no label & Reel Masters) & Dusseldorf 1970 Raw Master (Wardour)
These are from the fifth source, the longest available for the show. Reel Masters first issued the tape, but degenerated the sound by incorporating the familiar metallic sound. Wardour (a label of Reel Masters) issues the same audio, but without the metallic sound and amplification.
The no label title is a mix based on source five, but uses sources one and two to complete.
3-21-70, soundboard
Mudslide (Elrond, Flying Disc, & TDOLZ), Pb (Graf Zeppelin, LSD, Sugar Mama, Tarantura, Tarantura2000 2cd, Wendy, & "no label"), & Pb+ (Wild Card)
All of these titles share the same songs and cuts between them, regardless of track sequence.
Flying Disc has a very nice sound but comes from a noisier vinyl than the others.
TDOLZ comes from a very clean vinyl and sounds very good.
LSD's title seems to have been equalized a fair bit. It is louder, without extra hiss, but seems too unbalanced in some places.
Tarantura's original issue is also very good, sounding a little clearer and louder than TDOLZ.
Elrond attempted to re-arrange the tape to it's correct running order but couldn't properly place the "introduction." The music on this title is a little louder and clearer than some of the older titles. This is due to some bad "enhancements" which left some very strange noises in the background throughout the title.
Tarantura2000's first disc of the title claims to be copied from tape. It's second disc is copied from vinyl. Their tape issue is very good but not very different sounding than the other labels' releases from vinyl. However, it's vinyl issue is not as good as the other vinyl releases.
Wild Card's "Pb+" seems to be distorted on the louder notes. This isn't found on the other titles. It's sound isn't as loud as the others either but is probably just due to less amplification.
Wendy's title is identical in content as the others, sharing the usual track sequence. It's sound hasn't been amplified much.
Sugar Mama's title has the same content as the other, but the tracks have been resequenced to mimic the original playing order. It's sound is identical to TDOLZ.
The 2015 no label Pb is similar quality to the other titles and has it's tracks in the non-chronological order.
Graf's Pb title is on 3cds. The first part of disc one is a remastered LP version. The first half of disc two is the chronological sequence, that's not as clean as Sugar Mama (as far as vinyl noise) but is otherwise similar sounding. The second half of disc two is the "raw" LP version.
3-21-70, audience
Pb (Graf Zeppelin , Sugar Mama, & Wendy) & Perfect Blues Live (Tarantura2000)
Sugar Mama and Wendy debuted the audience tape at the same time. Wendy's tape problem in We're Gonna Grove is in worse shape than Sugar Mama's. Wendy has at least three micro cut/repeats throughout the title. They're not found on Sugar Mama. The two titles are similar in sound, but have slightly different speeds.
Tarantura2000's release is similar in content to Sugar Mama, but includes an unlistenable two second section during Dazed that's been removed from the other titles. They've amplified the sound heavily.
Graf's second half of the first disc contains the audience source in similar quality to Sugar Mama.
3-21-70, mix
Pb (Graf Zeppelin)
Graf's third disc is the only title offering a mix. It's based on the soundboard.
3-27-70
D'Ya Feel Alright? (Mad Dogs), Everybody Feel Alright? (Empress Valley & Graf Zeppelin), First Time At the Forum (TCOLZ, 4cd), For the Benefit of Mr. Kite! (Taratura2000), & LA Jive & Rambling Mind (Holy Grail)
Mad Dogs and the first half of TCOLZ's 4cd title are strictly the first source. Mad Dog is missing lots of tape between songs and after the show. The sound quality is quite similar between the two titles.
TCOLZ's second half is strictly from the second source. For some reason, it seems they've spliced the bulk of Moby from a different copy of the tape. Strange sounds can be heard at the first minute mark. A split second vocals during HMMT is "lost" during an edit.
Holy Grail and Empress Valley are two source mixes, using source two as their foundation - Bring It On Home, White Summer, and Since I've Been Loving You are borrowed from the first source. Holy's title misses only a few seconds of tape at cuts and the title runs too fast. EV misses too much of it at the cuts and splices. There are very many micro cut/repeats in this title, most notably a string of them together after White Summer. It's inexcusable. They've included an extra six plus minutes after the show that aren't available elsewhere (from source one). This seems odd after their editing out the taper comments after the show in their last release, "Live At Central Park."
Tarantura2000's title is another mix, using source two as it's foundation. There are unnecessary cuts at some of the track changes.
Graf's title is a mix based on the second source, splicing in the familiar locations.
The mixes are fairly similar in sound quality.
3-28-70
Texas Two Steps (TDOLZ & Graf Zeppelin)
TDOLZ has some very minor static in places throughout the title and a strange, but brief, sound several minutes into White Summer. Graf is clean and is otherwise similar in sound and content.
3-29-70
Texas Two Steps (TDOLZ & Graf Zeppelin) & Ultimate Mudslide (Elrond)
TDOLZ has the two songs in good form.
Elrond's title has been heavily equalized and amplified, ruining the recording. There are weird digital sounds in the background.
Graf's title is similar to TDOLZ, but has been amplified some.
4-5-70, sources 1 & 2
Baltimore 1970 (no label, 4cd), Groovin' You (Empress Valley, original and reissue), & Live At Tear Gassed Palace (Tarantura2000)
Tarantura2000 was the first to release this show and is exclusively from the first tape source.
Empress Valley mixes in a second source to add a little tape after songs on the second disc. The second tape is also used to fill in 5 seconds of How Many More Times and about a dozen seconds of Whole Lotta Love.
The no label title provides two, two source mixes of the show. The last two discs are based on source one, but the splicing displaces too much of it. The first two discs are based on source two and has no shortage of splicing. These two, two source mixes are mostly useless. Collectors do not need two versions of the show which only offer part of each taper's audio.
Tarantura2000 and EV have similar sound. The no label title is a touch less amplified.
EV's 2021 title reissues the original, and appears to use the same discs.
4-8-70
American Accents (Baby Face), Fearsome Four Live On Stage (Mandala), Groove (Tarantura), Raleigh 1970 (no label), Up Beat (Empress Valley), We're Gonna Rock (Blimp), & World Champion Drummer! (Empress Valley, original and reissue)
Fearsome Four runs too fast, absurdly divides White Summer in two - splitting it onto both discs, and may be missing time from Moby. Blimp's also runs too fast and has some digital interference in White Summer. Tarantura also runs a little fast.
Baby Face, Empress Valley, and the no label title all run at the correct speed and don't have the problems present on the other titles. Empress is missing the first split second of tape.
EV's reissue of WCD reuses the original discs.
EV's Up Beat reissues the audio from their prior release on new discs.
All of these titles are similar in sound. No tape generation differences.
4-9-70, source 1
Bring It On Home (POT), First Choice (Sugar Cane Records), Makundju (Cobra), Tampa 1970 (no label), & Who's Birthday (Tarantura & Grexit)
These titles are strictly from source one.
First Choice has many cuts between songs to remove tape stretches and talk. There is a cut in Since I've Been Loving You. The organ solo/Thank You is missing 2 minutes. How Many More Times is missing almost 25 seconds.
The Tarantura is missing the first 3 seconds of the first song & the first second of What Is and What Should Never Be. Surprisingly, the tape stretches following White Summer and What Is are in place, while Cobla removed them.
POT is missing the first 6 seconds of the first song and has an extra cut in How Many More Times.
Makundju has an unnecessary cut in Moby Dick, removing about 3 seconds of drumming. It has 15 to 24 seconds more tape after the show than the older titles.
The no label title is has all the familiar tape and is the most complete offering of the show yet.
Grexit's title is a straight copy of the no label title issued six months earlier.
All titles are very similar in sound quality.
4-9-70, source 2
Makundju (Graf Zeppelin, 3cd)
Graf's third disc is the only title offering the source two tape.
4-9-70, mixes
Dazed and Confused In Tampa 1970 (Wisteria), Getting Loose (Empress Valley), & Makundju (Graf Zeppelin, 3cd)
These titles are all based on source one.
EV oddly misses about 15 seconds of source one after White Summer, but only misses minimal tape at other splices. Wisteria simply misses way too much tape before the show, after White Summer, and after the show. Futhermore, they've inserted small cuts at most track changes. Graf's first two discs have the same mix as the other two titles, but only misses minimal tape at splices.
4-12-70
Ottawa 1970 (Graf Zeppelin) & Was Good and Loud (Empress Valley)
Graf debuted the first source which only contains part of Bring It On Home. EV debuted source two which contains the whole show. Atlantic records allowed a radio employee to broadcast the show with the condition that each song was marked with announcements.
4-14-70
Just the Crowd and... (Empress Valley), Ottawa 1970 (Graf Zeppelin), Ottawa 1970 Remaster (Graf Zeppelin), Ottawa Sunshine (Elrond), & Parliament Hill - TMQ Masters Vol 1 (Flying Disc)
There's only one difference between Flying Disc and Elrond. Elrond edited the cut that is approximately one minute into Dazed, removing less than 2 seconds.
Empress Valley has the same content as Flying Disc and has properly sequenced Dazed and Confused. It has a super quick fade at the end of Dazed and Thank You.
Graf's "Ottawa 1970" has the correct sequence and content, without any fades. It runs a hair faster than EV.
Graf's "Ottawa 1970 Remaster" has the same content as their previous title, but seems to have been equalized a touch different.
These titles are pretty similar in sound.
4-17-70
Memphis (Neptune), Memphis 1970 (ZOSO & no label), Memphis Tennessee 1970 (Empress Valley), Memphis Underground (Magnificent Disc), War Cry (Wendy)
ZOSO and Neptune are completely identical.
Magnificent Disc is the farthest thing away from being magnificent. It's sound has been tweaked to the maximum, much like the titles in the last half of Electric Magic's catalog. The taper comments have been removed. The last couple of seconds are actually a double repeat of tape just briefly before. No evidence points that this title wasn't sourced from one of the previous releases.
Empress Valley's title has two seconds of tape after Heartbreaker, five more seconds before How Many More Times, and eight seconds after What Is that are not found on the other titles. EV's sound has been amplified quite a bit.
The no label title has the extra tape found on EV. It has a significant drop in sound for over a minute during Heartbreaker, a brief sound change during White Summer, and another sudden shift in sound at the track change for Thank You. It's been amplified quite a bit.
Wendy's title has most of the extra tape found on EV. It has two digital clicks/errors during Whole Lotta Love. It's sound is fairly similar to ZOSO.
4-18-70, sources 1 & 2
Desert Storm (Empress Valley, original and reissue), Live At Phoenix 1970 (Power Archives), Nebula (Tarantura2000), & Phoenix (Electric Magic)
Empress Valley is strictly the first source. Their reissue uses the same cds as the original release.
Power Archives and Tarantura2000 contain the second source. Tarantura2000 was the last label to issue the show and is missing two songs.
EMC's title came out simultaneously with Power Archives and is a mix of both sources. Again, this label has decided to degenerate the audio quality by adding the familiar "metallic" sound. The next thing noticed is listening to part of the introduction twice, from both sources. Source one is used to complete the few missing seconds of Dazed. Later it is used once more, arbitrarily, for the majority of White Summer/Black Mountain Side. Not a clever mix.
4-23-70
Another White Summer (Big Music), BBC (LSD, 4cd), BBC/Wavelength: Complete BBC Radio Sessions (Empress Valley), BBC Sessions (LSD, 4cd), Complete '69 BBC Classics (Immigrant), Complete BBC Sessions (Empress Valley), Complete British Broadcasting Corporation Radio Sessions (Empress Valley, original and reissue), One More Daze (Dynamite Studios), Real Complete BBC Sessions: Bonus Material (Tarantura2000)
Empress Valley's CBBCRS is complete and in good form.
EV's reissue of CBBCRS comes six months after their original and uses the same discs.
EV's "Complete BBC Sessions" reissues the audio from CBBCRS.
Dynamite, LSD, EV, and T2K include the most time before and after White Summer than the other releases. Immigrant's title misses a little after the song.
These releases are very similar in sound.
EV's "BBC/Wavelength: Complete BBC Radio Sessions" reuses the same discs as their previous reissue.
6-28-70
Bath 1970 (Le-Mon), Bath Festival (Empress Valley), Bath Festival 1970 (Empress Valley, original and reissues; Wendy), Bath Festival of Blues & Progressive Music '70 (no label), Bath of the Blues (Tarantura2000), Bath Stop (IQ), Blue Bird (Empress Valley), Boy Next Door (2010 & 2015 no label titles), & In Yokel Mode (Boleskine House Records)
IQ and Le-Mon are strictly from source one, are the cd earliest releases of this show, and are poorer quality than all subsequent releases. IQ repeats about 2 minutes of tape at the end of disc one. Le-Mon repeats a different 2 minute section. Both titles are missing the first 8 seconds of the organ solo. Le-Mon's title sounds a tiny bit louder and clearer than IQ, but both have some awful background noise in places.
EV's first release of this show was in 2001 and was quickly followed with a reissue, reusing the same cds. Source one is the foundation and a second source is introduced to fill gaps. It doesn't have the two minute repeats and the poor background noise problems. Two unnecessary splices are made - one during the end of Since and the other during the second minute of Whole Lotta Love. It's source one is in improved quality over IQ and Le-Mon.
EV's 2005 reissue and the third and fourth cds of their 2010 reissue use the same tape from 2001. These reissues use new discs.
EV's cds one and two from their 2010 title offer an upgraded version of source one. This makes the introduction available, a little more tape/music at cuts, and a lot more tape after Moby and after the show. Sadly, there are two cuts during the beginning of Thank You. Prior releases of this are uncut. The second cut removes a second of tape during a distant air horn blast.
Wendy and 2010's "The Boy Next Door" are two source mixes, using the latest upgraded tape as the foundation and using source two to fill the gaps. Both titles are cut during the beginning of Thank You. Wendy has a pair of cuts, with the later displacing the air horn with an edit of some kind. Boy just has one cut in this area and splices out to the next higher generation of this tape for two seconds. Both titles have good sound, but Wendy's sound may be found to be less preferable.
Boleskine uses the latest upgraded tape as it's foundation and then uses the other source just to fill the gap in the start of the organ solo. It too is cut during the beginning of Thank You, and has edits lasting several seconds. The air horn is removed here too. It's sound is fairly similar to the other recent releases.
The 2015 no label title "Boy Next Door" reissues the audio found on the 2010 issue.
The 2018 no label title "Bath Festival of Blues & Progressive Music '70" reissues the audio found on their original title and adds in two bonus tracks from an LP source.
EV's 2019 "Bath Festival" title is a reissue, reusing discs from their 2010 release "Bath Festival 1970."
Tarantura2000's "Bath of the Blues" consists of two subtitles containing the show, "Raw Transfer" and "Final Mixdown." Both are identical mixes bases on the first source. Unlike most mixes from this label, no tape is missing at the splices and the sound is not over done.
EV's Blue Bird only offers five tracks from the show.
7-12-70
Checkpoint Charlie (Immigrant) & Intimate… (Equinox)
Immigrant is missing "That's the Way" and "Communication Breakdown" fragments. The running order is out of sequence (2 songs switched on last disc).
Equinox is more complete and also much better sounding.
8-15-70
New Haven 1970 (no label) & Rare Short Party (Image Quality)
IQ released this show about twenty years before the no label title. It is strictly source one.
No label's title is a two source mix, based on source one. It uses the second source for about thirty seconds before Dazed and completes the last twenty seconds of Since I've Been Loving You. It has the same source content as found on IQ and it's very highly similar in sound, but a tiny bit less amplified.
8-21-70
Bottle It Up and Go (Graf Zeppelin), Bottle Up and Go (Scorpio), Lights Go Down (TDOLZ), Tulsa Hillbilly (Tarantura), Tulsa Symphony: Ode To Joy (Wendy), You Gotta Be Cool (Whole Lotta Live)
Whole Lotta Live is a direct copy of Tarantura. It sounds like Tarantura used two different gens of tape to present this show. With that comes a couple extra cuts. The first disc ends 6.5 minutes into the organ solo and then is restarted on the second disc. Tarantura is missing a few seconds before the show and is missing a minute after WLL. The sound doesn't seem quite as good here as on the other releases.
Scorpio is missing the introduction and most of the tape after the show. Other than that, it is not missing large chunks of tape like the other titles. A few seconds are missed during Moby. Scorpio's sound suffers some during the whistling next to the microphone.
TDOLZ has a complete intro but is missing 2 minutes of Moby Dick. It is also missing 2.5 minutes after WLL and the last 9 seconds of tape after the show.
Wendy is almost completely identical to TDOLZ. It too is missing way too much of the tape. They've also decided to splice in a different show briefly during the tape stretch early in Immigrant Song.
Graf's title is largely complete and has about six extra seconds of more tape during Moby than the others. It's cut twice after Whole Lotta Love and misses over a minute. The last several seconds after the show are missing too. It's sound is similar most to TDOLZ, which is close to Scorpio too.
8-31-70
Just the Crowd and... (Empress Valley), Latest Summer (Jelly Roll), Milwaukee (Akashic), Milwaukee 1970 (TDOLZ), & Pushes Pulsing Artistry (Graf Zeppelin)
TDOLZ, Jelly Roll, EV, and Graf are all extremely similar in content and close in sound. Akashic has added about 30 seconds to it's tape by pasting in audience cheer at the cuts and before the show. It's sound is much louder than the others but is only due to amplifying.
9-2-70, sources 1 & 2
Another Night On Blueberry Hill (Electric Magic), Fortune Teller (Tarantura2000), Get Loose (Holy Grail), I Got To Find My Baby (Graf Zeppelin), Live On Blueberry Hill II (Tarantura & Wendy), Return To Blueberry Hill (Graf Zeppelin), Two Days Before (SIRA), Youth Gone Wild (Empress Valley)
Get Loose is from a different source than the other releases. It is less complete and more distant. The other titles are from the first tape source.
Tarantura and Electric Magic are almost completely identical, but not absolute. Although EMC's first disc is the same length as Tarantura, it is not a direct copy. This isn't to say it couldn't have been sourced from it - it likely was used. The only actual content difference is a tiny cut and repeat at the beginning of EMC's disc two. Their sound is identical. (No metallic sounds added this time.)
SIRA has 2 extra cuts between songs (with repeat - no time missing). It is missing 2 minutes of tape between That's the Way and Bron-Yr-Aur (the first second of Bron-Yr-Aur is missing). It's music and background noise haven't been amplified as much as Tarantura and EMC. There's probably no difference in tape generation.
Tarantura2000's title is pretty similar in content and sound to Tarantura and EMC. It does, however, miss a second of tape during Whole Lotta Love when removing the tape stretch. After the song, it has a few seconds more of tape than the other titles
Wendy is a two source mix. The secondary tape is the one used by Holy Grail, filling in the other source's few small gaps. It's sound is similar Tarantura and EMC.
Graf's title is a two source mix, highly similar to Wendy's mix.
EV's title is another two source mix.
Graf's title features the last four tracks from this show as a bonus to "complete" the primary show on the title.
9-3-70
DX I ~ X (Mad Dogs), Missing Sailor (Immigrant), I Got To Find My Baby (Graf Zeppelin), & Take My Breath Away (Wendy)
Immigrant is missing a minute of the introduction, several seconds between songs, and the last thirteen seconds of Communication Breakdown. It's sound has been slightly amplified over Mad Dogs.
Mad Dogs is missing just two seconds from between songs but misses the last thirteen seconds of Communication Breakdown. It has five second fades in the beginning and end of the title. It runs a hair faster than Immigrant.
Wendy's first two seconds are metallic and a micro cut/repeat after That's. It's missing a few seconds of tape at cuts and also misses the last thirteen seconds of Communication Breakdown.
Graf's title is more complete than all prior titles. It's sound is most similar to Mad Dogs.
9-4-70, sources 1-5
Blueberry Hill (Moonchild), Final Statements (Antrabata), GOAT Live On Blueberry Hill (Wendy), Live On Blueberry Hill (Cobra, Cobra Premium Series, Eat A Peach, Empress Valley 9cd & 4 reissues, Graf Zeppelin 3cd, Last Stand Disc 4cd, Mud Dogs, no label [2015 & 2017], Sanctuary, Tarantura 1993 & 1997, Wendy original and remaster, Tarantura2000 9cd, & Wendy 9cd), Live On Blueberry Hill Another Master (no label), Live On Blueberry Hill: Stereo Matrix (Empress Valley, 2cd & 6cd), Live On Blueberry Hill: Monaural Master (Empress Valley), Live On Blueberry Hill: Stereo Master (Empress Valley), Live On Blueberry Hill Slumpymatrix (Magic Pyramid), Return To Blueberry Hill (Immigrant & the no label blue sleeve), Ultimate Blueberry Hill (Moonchild), & Youth Gone Wild (Empress Valley)
Foreword
A total of five different sources have surfaced from this very amazing, legendary performance.
Almost all cd titles that have ever released this show with the tracks properly sequenced are represented in this text. The old European and American vinyl titles and cd titles normally/usually copied from vinyl (ceasing by 1994~), resequenced or not, have been excluded.
Two assumptions about vinyl releases are as follows… The TMQ label first released this show. The Rubber Dubber label was the second release of the show, using a different tape, in stereo. Importance is placed on the identification of unique bootleg tape sources for this concert.
All sources have been highly compared, studied, reviewed, and then compared again with each new release of this show. Properly identifying the separate sources has been extremely important. It is absolutely key in understanding these many sources. They often have some very similar and identical background noises, such as whistling, talking/muttering, replies of "Good Evening," laughing, etc.
Source 1 = Immigrant / (TMQ vinyl)
Source 2 = Tarantura2000 TCD-30 / (Rubber Dubber vinyl)
Source 3 = Mud Dogs
Source 4 = Tarantura2000 TCD-33
Source 5 = Tarantura's 1997 blue sleeve release
Please refer to this TABLE to view sources used on cd titles.
Source 1 (TMQ): Immigrant and the first two discs of the LSD four disc release use the first tape source exclusively, presumably the tape used for the famous TMQ vinyl. LSD has a faked introduction by moving a dozen seconds of tape from after Heartbreaker. Immigrant does not contain that dozen seconds in either location.
Tarantura2000's TCD-31 claims to be TMQ, but it does not contain any of that tape.
Empress Valley's cds 1&2 ("Blimp Records / TMOQ" of the 9cd and 4cd titles) are based on the TMQ tape. It's introduction is source 5. Source 3 is used briefly after Dazed and Bron-Yr-Aur. The title offers more of source one between songs and after the show than any other cd release of this show. The title also has at least two cut/repeats in the Tarantura2000 fashion. It's sound is not near as clear as the others.
Wendy's cds 1&2 of their 9cd title are strictly the TMQ source. Like LSD, they've faked an introduction by moving tape from after Heartbreaker to the beginning of the title. A little tape is missing after Dazed. For an unknown reason they've cut a few seconds after That's during RP talking. After Bron-Yr-Aur, a splice to a different copy of the same source is made until the next song starts. A similar splice is made during Moby that lasts for almost six minutes. After Moby, RP's "swamp music" comment is excluded and a "Thank You" is inserted for no reason. More tape is missed after Whole Lotta Love, Communication Breakdown, and after the show. While this title is exclusively from the TMQ tape, it's done by splicing in from a diff copy of it. (EV's title is often uncut in these areas.)
Source 2 (Rubber Dubber): Tarantura2000's TCD-30 introduces the second source to cd for the first time, also known as the Rubber Dubber tape.
Empress Valley's final cd also releases this tape, but hasn't been cleaned up as anywhere near as well as Tarantura2000.
Wendy's cd 9 of their 9cd title releases this source. It is almost completely identical to EV, including the many micro cut/repeats in Whole Lotta Love.
Graf Zeppelin's third disc has the source in good form. The final track on the disc is an unmentioned and unnecessary bonus track of Bron-Y-Aur and is a mix of source three and Rubber Dubber.
Source 3: Mud Dogs debuted source three. It and Tarantura2000's TCD-32 are strictly from this source. Mud Dogs is missing the opening one second, misses several seconds before Since I've Been Loving you and Moby Dick, misses 2:13 of Moby Dick, misses several seconds after Whole Lotta Love, and misses a few seconds after the show. It's left channel is much weaker than it's right. Tarantura2000's isn't missing the tape sections noted above and it's channels are both as strong as Mud Dog's right channel.
Empress Valley's cds 3&4 ("TMOQ Alternate Source") is based on the Mud Dogs' source. It has no fewer than 23 source changes. During the constant tape switching, a few seconds of the primary source are lost. It's introduction is mostly source 5. Later parts of the title use sources 1 and 4 too. The title also has at least one cut/repeat in the Tarantura2000 fashion.
Wendy's cds 3&4 of their 9cd title are based on this third source. It misses way too much of this primary source. A few seconds of Since are missed, almost twenty seconds of the organ solo are missed, and misses over two and a half minutes of Moby Dick. A few seconds of tape are lost in other places too, between songs. After Thank You, a splice is made to the fourth source briefly before the disc ends. The next disc begins by repeating part of the previous disc, but they've removed their source four addition. After What Is and Should Never Be, there is a cut with a ten second repeat. No effort was made to preserve this source.
Graf Zeppelin's first two cds are based on source three, but use source four and five too, maybe the others as well.
Source 4: This source was finally released in it's entirety for the first time on Tarantura2000's TCD-33, although the title is not strictly from this source alone. (Pieces of this source have been used regularly on many older titles.) One or more of the other tapes of this show have been used for several seconds of Immigrant Song and then for one or two split second occasions after Moby Dick. Unfortunately, edits have been made at several places where dropouts would be found in the tape. The fashion of edit used creates a semi-microscopic cut/repeat at each dropout. The split second of blank tape (dropout) is removed, throwing off the timing of the song, then a split second of tape before the drop is repeated. It's a highly annoying result.
Empress Valley's cds 5&6 release source 4 too. They refer to it as the "Cobra" source, since that's presumably the first title to use the tape, however little amount of it. It's introduction is source 5. Later parts of the title use sources 1 and 3 too. The title also has at least two cut/repeats in the Tarantura2000 fashion.
The no label title from 2015 is strictly source four. It is not littered with micro cut/repeats or any splicing. No tricks or gimmicks, just an honest release. It's sound is otherwise similar to T2k.
Wendy's cds 5&6 of their 9cd title are based on source four. It's sound has been degenerated, and is especially bad during quieter sections. The intro is source five. It splices to source three during Bron-Yr-Aur. For some unknown reason, they inserted a cut and nine second repeat after Since. The splice after Moby is to source five, displacing a dozen seconds of the primary tape.
Source 5: The fifth source debuted on Tarantura's 1997 release. Tarantura2000's TCD-34 releases a poorly edited version of it. (Edits were made in the same manner as TCD-33.) TCD-34 runs a tiny amount faster than the other title. Sound quality is similar between the two releases.
Empress Valley's cds 7&8 release source 5 too. They refer to it as the "Antrabata" source, since that's presumably the first title to use the tape, however little amount of it. Source 1 is mixed into the title. The last several seconds of the tape have a strange reverb affect added for no good reason. The title also has at least six cut/repeats in the Tarantura2000 fashion.
Wendy's cds 7&8 of their 9cd title are strictly from source 5. It has a super tiny digital glitch in Since and a micro cut/repeat during Whole Lotta Love. It's otherwise a good title.
Insignificant Mixes:
Tarantura's 1993 release uses sources 1 & 3 but still doesn't complete Moby Dick. The last two discs of the LSD title is a three source mix. It relies mainly on the third tape source and borrows from the first and fourth tapes to complete. Source four is used for Moby Dick, but it is missing 82 seconds. The Cobra and Cobra Premium Series releases contain the exact same mixture of sources 1, 3, and 4. However, the CPS is not simply a copy of the Cobra. There are trivial differences. Antrabata relies heavily on source three, but uses three other sources for songs too. After using these four sources, Antrabata is the least complete mix available. The no label (possibly Scorpio) title in the blue gatefold sleeve is a copy of Antrabata. Sanctuary uses the fifth source's introduction. It relies heavily on the first source but also uses three and four for songs too. They've made every effort to present full songs and talk between songs. Wendy's two titles differ from each other and are just more of many mixes available. Their constant source changing becomes annoying. Tarantura2000's TCD-31 relies mainly on source 3 and uses source 4 to avoid some of the source 3 problems.
The first 8 cds of Empress Valley are multiple source mixes. Those four versions are each founded on different sources, but the constant source changing leaves the listener with nothing less than 4 mixes of the same show, in the same box. The listener can only guess what tape they're truly hearing during playback. The liner notes are deceiving. Tarantura2000 left plenty of room for improvement, but EV didn't bother to take full advantage. They did include the TMQ source, but that was expected.
Empress Valley's endless stream of reissues: The first reissue came two months after the box set, using the first four cds from the box. The 2cd reissue was offered two years after the box, using cds 3&4 from the box. Their second 4cd reissue arrived in 2010, reissuing the audio from the first four cds of the box. Their next reissue used audio from the first two cds of the box on "Youth Gone Wild" in August 2013. The reissue after that was a 4cd box, reissuing the 2010 reissue. Their next reissue of the first four cds of their original box was in 2019. It housed a "Monaural Master (evsd-530/531)," the "Stereo Master (evsd-532/533)," and accompanied with a new mix, the "Stereo Matrix." The matrix was also simultaneously released as a 2cd title. It's basically those same four cds mixed together, playing at the same time, and could have other sources mixed in too.
Empress Valley never isolates separate sources in boxes in which they repeat the same show over and over. They're entirely missing the point. It's a bigger crime than their mixing two different shows together and passing it off as a single show.
Eat a Peach's title offers another mix. It also offers at least one "micro cut/repeat" and some light clicking noises in the early part of Communication Breakdown.
Moonchild's "Blueberry Hill" title is based on source four. It uses source five for the introduction and the remaining gaps are filled with source three. It's background sound during the quieter sections ranges from normal to very poor sounding.
The no label title from 2017 is based on the exact same audio used by Moonchild last month, but sped up the slightest bit.
The other no label title from 2017, "Another Master," should have been titled "Another Mix." It's based on source three, but no effort was made to use all of the source. The available tape for the organ solo and Moby Dick were not even used. It's a mix of at least four of the five sources.
Between all of these titles, speed and sound quality differ slightly. Some titles have louder music than others, but they also have louder background noise that comes along with amplifying.
Moonchild's "Ultimate Blueberry Hill" title is the same "Stereo Matrix" as found on EV's 2019 title, having the same cd times as well.
Magic Pyramid's title is a matrix, based on the earlier sources.
Wendy's GOAT title is a matrix with WEIRD sounds in several places, misses some brief lyrics in Heartbreaker, and has lots of sound fluctuations throughout the title.
9-6-70
Aloha From Hawaii (Wendy), Almost Son of Blueberry Hill (Shout To the Top), Box of Tricks (Red Hot & Tarantura2000), Holiday In Waikiki (Gold Standard & Graf Zeppelin), Honolulu 1970 (no label), In Exotic Honolulu (Akashic), September VI (Empress Valley), & Two Daze After (Boleskine House Records)
Foreword
These titles come one of two ways for Moby. They're either cut and missing tape near the six minute mark, or they're cut near the ten minute mark with tape missing. Gold Standard and STTT are the only titles cut near the six minute mark of Moby. All other titles are cut near the ten minute mark of Moby, and typically have a micro cut/repeat about twenty seconds into Immigrant Song.
Gold Standard is missing a little tape while RP is talking after Heartbreaker. It is missing about 19" of Moby at the cut near the six minute mark.
STTT is missing several seconds from the introduction, misses 15" during Moby at the cut near the six minute mark, misses four seconds after Whole Lotta Love, and misses a couple seconds after the show.
Akashic is cut near the ten minute mark in Moby and misses about three seconds. The tape strech after the show has been removed. The title has been amplified a bit.
Red Hot is missing a little tape at the cut after Heartbreaker, misses about ten seconds at the cut in Moby near the ten minute mark, and misses over a minute of tape after WLL. It's sound has been amplified a bit.
EV is cut near the ten minute mark in Moby and misses about three seconds. Their cue stops could have been positioned better. The title has been amplified a little more than Akashic.
Tarantura2000 is cut near the ten minute mark in Moby and misses about three seconds. The cut in Moby and WLL both have static for some reason. The tape strech after the show has been removed. It's sound is similar to EV.
No label's title is cut near the ten minute mark in Moby and misses about three seconds. It's cuts are easy to identfy. It has similar sound to EV.
Wendy is cut near the ten minute mark in Moby and misses about three seconds. It repeats some tape at the cut during Whole Lotta Love. It's sound is similar to no label.
Boleskine is cut near the ten minute mark in Moby and misses about three seconds. It's sound has been amplified a bit.
Graf is cut near the ten minute mark in Moby, but they've spliced in tape, perhaps from an older version of the tape as found on GS or STTT.
9-9-70
At the Boston Garden (Wendy), Come Back To Boston (Holy), Complete Boston Garden 1970 (Graf Zeppelin), No License No Festival (SIRA), Some Other Guyz (Tarantura2000), & Wreckage In Boston: Worse Than G.M. (Tarantura2000)
SIRA is source one. Tarantura2000's Wreckage and Wendy are source two. Holy uses source one up through most of Moby Dick and then switches to source two.
For the common source between SIRA and Holy, Holy's is in better condition. It doesn't have the tape problems found in Heartbreaker and Since I've Been Loving You. It's music and background noise are louder due to amplifying. There is a fair chance that it is a better generation due to the fact of the lesser (minor) problems. The second source on Holy runs fast.
Tarantura2000's Wreckage and Wendy are strictly source two and are highly similar in content and sound.
Graf's title is based on source two and fills with source one. The last two tracks are offered again after the show on disc two, but this time with source one as the primary tape.
Tarantura2000's Guyz title contains the show twice. The "Stereo Master" is based on part of source one and uses source two when plenty of source one is available. The "Monoural Master" (sic) is based on source two and uses the other source to fill. Both titles have been amplified a small amount.
9-19-70, afternoon show
American Woman (TDOLZ), Have You Ever Experienced? (Tarantura2000), Madison Square Garden 1970 (no label), Madison Square Garden 1970 Revisited (no label), Praying Silently for Jimi (Empress Valley, 2cd original and both 4cd reissues), & Storming the Big Apple (Eat A Peach)
TDOLZ was the first title to issue this show. It switches to a secondary tape source just before the final two songs.
Tarantura2000 and EV rely on the primary tape used by TDOLZ and fills those cuts with the secondary source. The final two songs are also entirely from the second tape source. Both these titles have been amplified, making the music and background noise a little louder.
EV reissued their title 2cd in a 4cd sleeved release, with the first two cds being from this afternoon show and the last two cds being from the evening show. It reuses the audio content from the original release, but on new discs. EV reissued the 4cd title again in 2016.
Both of the no label titles are based on the first source and fills with the second source. A lot of source one gets displaced during splicing. Their "Revisited" title reissues the audio from the original.
Peach's title is similar in sound and content to the no label title. Too much source one is missed.
9-19-70, evening show
Final Daze (no label), Have You Ever Experienced? (Tarantura2000), Madison Square Garden 1970 (no label), Madison Square Garden 1970 Revisited (no label), One More For the Road (Boogie Mama), Praying Silently for Jimi (Empress Valley's 4cd reissues), Requiem (Empress Valley), Shout That Loud (Electric Magic), & Storming the Big Apple (Eat A Peach)
These titles are completely identical in regard to cuts and content. Their only tiny differences are in speed and sound quality.
The differences in speed are so tiny that they can only be detected by time comparison, not by ear.
During the dozen seconds leading up to the cut in Moby Dick, Final Daze and Requiem both have strange sounds growing more and more prevalent. Electric Magic doesn't have that unnatural sound. (Furthermore, Electric Magic did not degenerate their sound by adding the metallic noise.) Requiem's sound is a tiny bit louder than Electric Magic. Final Daze's sound is a tiny bit less loud than Electric Magic.
EV reissued their Requiem title in a 4cd sleeved release titled "Praying Silently For Jimi" with the first two cds being from the afternoon show and the last two cds being from the evening show. It reuses the audio content from the original release, but on new discs. EV reissued the 4cd title again in 2016.
Boogie Mama is highly similar to the others.
Both of the no label titles are highly similar to the others. Their "Revisited" title reissues the audio from the original.
Peach's title is highly similar to the others.